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Of all the left-field composers out there — typically musicians who don’t follow the traditional rules of film composing — if Jon Brion isn’t at the very top, he’s very damn close. The musician, composer, producer (who has worked with folks like Fiona Apple, Kanye West, Of Montreal, Elliott Smith and more) has been tapped by filmmakers like Paul Thomas Anderson (“Magnolia,” “Punch Drunk Love”), Michel Gondry (“Eternal Sunshine Of The Spotless Mind”), David O. Russell (“I Heart Huckabees”), Charlie Kaufman (“Synechdoche, New York”), Miranda July (“The Future”) and more. In recent years he’s been moving towards comedies, especially for the films of Adam McKay (“The Other Guys,” “Step Brothers”), Vince Vaughn (“The Break-Up,” “Delivery Man”) and Judd Apatow. Brion scored “Funny People,” “This Is 40,” and has also written the music for the upcoming “Trainwreck” film starring Amy Schumer. The bête noir of all film composers is temp music — the music a. »
- Edward Davis
Read More: Sundance Review: 'Entertainment' Features Neil Hamburger, the Saddest Comedian in the World Magnolia Pictures has picked up the U.S. distribution rights to the meta dark comedy, "Entertainment." Written and directed by Rick Alverson, "Entertainment" follows an aging comedian performing his way across small venues throughout the Southwestern United States. Gregg Turkington a.k.a. Neil Hamburger -- the latter of which is a comedic persona of the former -- stars in the main role. Tye Sheridan, John C. Reilly and Michael Cera make appearances throughout. "Entertainment" premiered at the Sundance Film Festival in the Next <=> section and most recently screened on the closing night of the Film Society of Lincoln Center's New Directors/New Films. A release date has not been set yet for "Entertainment." Magnolia plans to release "Tangerine," another Next <=> section alumnus acquired out of Sundance, during summer »
- Shipra Gupta
The film, directed by Rick Alverson (who previously made 2012’s “The Comedy”), follows an aging comedian (Gregg Turkington) as he performs at a string of underwhelming venues starting in Bakersfield, Calif. The trek unfolds with a supporting cast of John C. Reilly, Michael Cera, Tye Sheridan and Amy Seimetz.
“Entertainment” premiered at the Sundance Film Festival, and later screened at SXSW and as the closing night of New Directors/New Films, to good reviews. As Scott Foundas, Variety’s chief film critic, wrote earlier this year: “Alverson’s fourth feature is singular stuff, and it reconfirms the director as one of the true bold voice in the all-too-homogenous U.S. indie film scene … ‘Entertainment’ should have no trouble finding a fervent cult to call its own.”
The producers on the film are Ryan Zacarias, »
- Ramin Setoodeh
At least once a month, Cinelinx will chose one director for an in-depth examination of the “signatures” that they leave behind in their work. This week we’re examining the trademark style and calling signs of Paul Thomas Anderson as director.
Anderson began his career without any related college experience as a production assistant. With some money he scrounged together, he made a short film, which he entered into the 1993 Sundance Film Festival. He decided to turn that short into a feature and was invited to attend the Sundance Feature Film Program, where he was mentored, and his talents were further developed. In 1996 his first feature film was released, Hard Eight, which Anderson had to raise his own money in order to edit it as he wanted, which was different than how the production company wanted to release the film. His version received some critical praise. His next film, Boogie »
- firstname.lastname@example.org (G.S. Perno)
Paul Thomas Anderson might not have won an Oscar this past weekend for writing “Inherent Vice” — or for “There Will Be Blood” in 2008 (which is a shame), or “Magnolia” or “Boogie Nights” — but his day will come. He’s too good for the Academy to continue to pass up time after time. As a writer-director, he brings his unique voice to every film he makes, consistently delivering moving, character-driven stories that stand out in their ability to showcase situations and people infrequently depicted in mainstream cinema. (Speaking of his voice, be sure to listen to this interview PTA did with Interview Magazine about “Inherent Vice” if you’ve not yet done so.) Even before Paul Thomas Anderson was a recognizable name, his knack for engaging, well-written dramas set in Southern California was already becoming a defining characteristic of his. For proof, look no further than Anderson’s 1993 short, “Cigarettes and Coffee. »
- Zach Hollwedel
Paul Thomas Anderson has crafted a unique visual style with his seven deep filmography. He has the slow dolly in on someone's face, long steadicam takes, etc. Among his visual go-tos is the long shot, or even extreme long shot (which is just a long shot to the Extreme). Anderson's films generally deal with characters in isolation, and the long shot is a perfect way to illustrate this. In this supercut, courtesy of Jacob T. Sweeney, we get to see PTA's various uses of the long shot, which are both beautiful to look at and can say so much about the characters completely out of context. I wish this was more of a video essay and not a supercut, explaining why these are effective shots, but it is nice to see them all compiled in a neat package like this. Regardless, it still showcases the extremely well constructed shots of »
- Mike Shutt
Then there is Paul Thomas Anderson's adaptation of Thomas Pynchon's Inherent Vice starring Joaquin Phoenix, Josh Brolin, Owen Wilson, Martin Short, Reese Witherspoon, Maya Rudolph, and Benicio Del Toro, plus a bevy of other game thespians. This adaptation has a contrary effect. It makes you want to hightail it to the incinerator with every Pynchon paperback you might own. Farewell, V. Sayonara, Gravity's Rainbow.
But before I get too critical, let me just note that this apparently was a project of love for Anderson. Anyone who would tackle Pynchon's verbiage and hope to get a slightly comprehensible screenplay out of it would only do so out of an illimitable devotion for the author. Anderson's chance of success, of course, »
- Brandon Judell
It’s been a long, crazy ride. That seems to be a sentiment echoed every year as the Oscar season comes to a close, having seen so many contenders become pretenders, front-runners changing with the announcement of every new precursor, and records kept or broken. It’s hard to put into words just what this year truly meant, and only time will tell if the academy’s choices really were the right ones, but for now, here are some of the things that stuck out as highlights: -Break- 1. Julianne Moore has an Oscar … at last! “Far from Heaven.” “Boogie Nights.” “The Hours.” “The End of the Affair.” Those are just the films for which Julianne Moore lost at the Oscars. There’s also “Safe,” “Magnolia,” “Short Cuts,” “The Kids Are All Right,” “The Big Lebowski,” “Children of Men,” and any number of great performances she wasn’t »
Had history turned out differently, Paul Thomas Anderson's "Boogie Nights" might've gone straight-to-video and we likely wouldn't have seen one of American cinema's finest directors deliver movies like "Magnolia," "There Will Be Blood," and "The Master." But early reviews saved the movie, it was released to great acclaim, and here we are nearly 20 years later, still appreciating the film. Today brings yet another perspective on the porn world picture, with Justin Barham's "Close-ups, Objects, etc." And the title says it all. It's a quick, but fascinating look at all the tight shots in PTA's movie, and, even across two minutes, it becomes quite apparent how these moments that usually get lost in the fabric of movie are actually essential in tying it all together. So get in your shaggin' wagon and watch below. Warning: probably Nsfw. »
- Kevin Jagernauth
It might be hard to believe, but it was nearly eight years ago when Kristen Schaal first played Mel, the stalker and only fan of the Flight of the Conchords, on the band's now-classic HBO show. In the years since, Schaal has remained a fan of the guys (she is also their actual friend), so Vulture felt it would be perfect to have her interview Jemaine Clement about his new movie, What We Do in the Shadows, a comedy horror mockumentary he wrote and directed with fellow New Zealander Taika Waititi, which opens wide this weekend. Schaal and Clement talk about making the movie, dancing, and whether Clement should quit acting.Kristen Schaal: So, hi, Jemaine.Jemaine Clement: Hi, Kristen. I understand you’re gonna go very in-depth with this interview. It’s gonna be really hard-hitting. That’s absolutely correct. It’s gonna be like that scene »
- Kristen Schaal
Our Oscar coverage continues. Here we overview the best acting and best directing award nominees.
The Best Actor Nominees
Previously Best Known For:
Previous Oscar Nominations/Wins:
Interesting Fact: Owns and operates the Marshfield Hills General Store in Marshfield, Massachusetts where he has a summer home.
Previously Best Known For:
Previous Oscar Nominations/Wins:
Nomination - Best Performance by an Actor in a Supporting Role 2013- as Richie Dimaso in American Hustle
Nomination - Best Performance by an Actor in a Leading Role 2012 - as Pat in Silver Linings Playbook
Interesting Fact: Had to miss his graduation commencement at Georgetown University because he was filming Wet Hot American Summer.
- email@example.com (G.S. Perno)
Since making his movie debut as Harrison Ford's doomed sidekick in Raiders of the Lost Ark, Alfred Molina has appeared in everything from critically-acclaimed dramas like Prick Up Your Ears to Hollywood blockbusters ranging from Species to Spider-Man 2.
His latest film, Love Is Strange, centres on a long-term gay couple who are forced to live apart while they search for a new home. It opens on February 13, a canny piece of counter-programming to the omnipresent Fifty Shades of Grey. To mark the occasion, Digital Spy took a trip down memory lane with Molina to speak to him about the roles that defined his career.
Raiders of the Lost Ark (1981) - Satipo
"My very first time in front of a camera! I knew nothing, the only thing I knew about filmmaking was the fact that films got made at all. I knew nothing about the technique of film; I was very, »
6th Update, Monday Actuals, 3:20 Pm: Paramount’s SpongeBob SquarePants: Sponge Out Of Water came in with $635K less than its weekend estimate reported yesterday of $56M. Still, it’s a great gross for this time of year, especially when there aren’t a lot of kids out of school. Per Rentrak, only 1% of all K-12 and college students were off this Friday. That figure moves to 17% this Friday, and then 15% for the February 20-22 frame.
As reported this morning, Warner Bros./Village Roadshow’s Jupiter Ascending dropped ducats and is now filing $18.37M while Universal/Legendary’s Seventh Son is a $100K better with a $7.2M actual. They’re in for a hammering this coming weekend as two R-rated mass-appeal pics hit the sked: Universal’s long-awaited E.L. James bestselling adaptation Fifty Shades Of Grey at an estimated 3,600 theaters and 20th Century Fox’s Kingsman: The Secret Service on »
- Anthony D'Alessandro
Complete list of winners and nominees of the 2014 Grammy Awards, held in Los Angeles at the Staples Center on Sunday February 8. Winners will be updated as they're announced during the telecast and pre-telecast. Record Of The Year “Fancy,” Iggy Azalea Featuring Charli Xcx “Chandelier,” Sia **Winner** “Stay With Me (Darkchild Version),” Sam Smith “Shake It Off,” Taylor Swift “All About That Bass,” Meghan Trainor Album Of The Year **Winner** “Morning Phase,” Beck “Beyoncé,” Beyoncé “X,” Ed Sheeran “In The Lonely Hour,” Sam Smith “Girl,” Pharrell Williams Song Of The Year “All About That Bass,” Kevin Kadish & Meghan Trainor, songwriters (Meghan Trainor) “Chandelier,” Sia Furler & Jesse Shatkin, songwriters (Sia) “Shake It Off,” Max Martin, Shellback & Taylor Swift, songwriters (Taylor Swift) **Winner** “Stay With Me (Darkchild Version),” James Napier, William Phillips & Sam Smith, songwriters (Sam Smith) “Take Me To Church,” Andrew Hozier-Byrne, songwriter (Hozier) Best New Artist Iggy Azalea Bastille Brandy Clark »
- Donna Dickens
Inherent Vice, 2014.
Directed by Paul Thomas Anderson
In 1970, drug-fueled Los Angeles detective Larry “Doc” Sportello investigates the disappearance of a former girlfriend.
Reviewer’s note: I have no interest in describing the plot of Inherent Vice in this review. If you want to know what it’s about, there are many places to get that information online.
Expectations are a baggage which, despite best efforts, you sometimes cannot help but bring to a first viewing, especially if that first viewing is for the latest film from Paul Thomas Anderson. He’s a director who has produced films of startling magnitude time after time, and as I sat down to watch this, his seventh film, I was guilty of having it all planned out in my »
- Gary Collinson
Doug Liman's sci-fi blockbuster Edge of Tomorrow earned a great deal of praise when it was released last summer, but it turns out that one genius filmmaker may be its biggest fan. Inherent Vice director Paul Thomas Anderson has heaped praise on the blockbuster, and in particular the performance by Tom Cruise, insisting that no other actor could have played that role so well. Paul Thomas Anderson let his opinion of the 2014 blockbuster known while recently promoting the UK release of Inherent Vice. While speaking with Dazed Digital, the subject turned to Tom Cruise - who starred in Anderson's Magnolia - and the filmmaker took the opportunity to express the immense pleasure he felt while watching Edge of Tomorrow. Said Anderson, Did you see Edge Of Tomorrow? It.s fucking great. And no one went to see that movie. That was Cruise at his best. You watch Tom Cruise, »
A lifelong — or, at least, acting-career long — dream of Julianne Moore’s has finally come true.
“I’ve always wanted to play a wicked witch,” Moore says over the phone. “I think all of us always want to do that.”
Of course, the freshly Academy Award-nominated star of Still Alice is not talking about her role in that acclaimed film (more on that in a bit). Rather, she’s referring to Mother Malkin, an evil sorceress and sometimes dragon who’s out to destroy a medieval fantasy world in this month’s Seventh Son.
“It was great to play somebody that was so unambivalent about what she wanted,” Moore, 54, says of her part in the magic-and-monsters epic that co-stars Jeff Bridges as a veteran witch whacker and Ben Barnes (The Chronicles of Narnia’s Prince Caspian) as his young apprentice, the seventh boy of the title. The film was shot mostly in Vancouver, »
- Bob Strauss - Cineplex Magazine
For the first week of February, horror fans should get those wallets ready as there’s a ton of great titles making their home entertainment debuts this Tuesday. We’ve got two stellar indie films to look forward to- The Demon’s Rook and Starry Eyes- and Universal is releasing two of their recent theatrical titles, Dracula Untold and Ouija, on Blu-ray and DVD as well.
As if that’s not enough, other notable titles you can add to your personal collection on the 3rd include Exists, The ABC’s of Death 2, Zombie Killers: Elephant’s Graveyard, John Wick and the cult classic Kull the Conqueror is making its way onto Blu for the first time ever too.
The Demon’s Rook (Cinedigm, DVD)
Chaos descends upon a quiet town when Roscoe, the pupil of a wizard monk from an ancient race of demons, unknowingly opens a portal that »
- Heather Wixson
Earlier this month, Paul Thomas Anderson said he enjoys comic book movies while defending the genre, and during an interview with Dazed, the Inherent Vice director revealed he's also a big fan of Doug Liman's Edge Of Tomorrow and Wes Anderson's The Grand Budapest Hotel. Anderson says he thought his Magnolia star Tom Cruise was at his best in Edge Of Tomorrow. Did you see Edge Of Tomorrow? It’s f*cking great. And no one went to see that movie. That was »
- Jesse Giroux
Director: Paul Thomas Anderson; Screenwriter: Paul Thomas Anderson; Starring: Joaquin Phoenix, Josh Brolin, Owen Wilson, Katherine Waterston, Reese Witherspoon, Benicio del Toro, Jena Malone; Running time: 148 mins; Certificate: 15
With masterpieces like Boogie Nights and Magnolia tucked under his belt, Paul Thomas Anderson's new movies are inevitably threatened by the huge burden of expectation. A bold director who never shies away from a challenge, Anderson's latest effort tackles Thomas Pynchon's supposedly unfilmable novel Inherent Vice and bears all the hallmarks of his finest work – a terrific ensemble cast, acutely observed visual detail and a labyrinthine plot that weaves together disparate and desperate figures. Sadly on this occasion, such individually strong components fail to gel together as a whole and provide a consistently engaging experience.
The intriguing period at the start of the 1970s is the canvas for the story, which involves a stoner private detective known as 'Doc' (Joaquin Phoenix »
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